A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

Saturday, December 9, 2023

Party Girl (Daisy von Scherler Mayer, 1995)

Parker Posey in Party Girl

Cast: Parker Posey, Anthony DeSando, Guillermo Díaz, Donna Mitchell, Liev Schreiber, Omar Townsend, Sasha von Scherler, Becky Mode, Simon Verhoeven. Screenplay: Harry Birckmayer, Daisy von Scherler Mayer, Sheila Gaffney. Cinematography: Michael Slovis. Production design: Kevin Thompson. Film editing: Cara Silverman. Music: Anton Sanko. 

With its larky portrayal of the Manhattan club scene of the 1990s, Party Girl reminded me of those "swinging London" movies of the 1960s, like Richard Lester's The Knack ... and How to Get It (1965). You might even think of Parker Posey as the Rita Tushingham of the '90s. But The Knack now feels tired and dated, while Party Girl remains fresh. Or maybe I feel a special affection for Party Girl because I spent my youth mastering the Dewey Decimal System instead of partying, and it's nice to see a movie that validates my lifestyle, even ironically. Party Girl also is ethnically and sexually more diverse than those '60s movies were, or could have been. The odd thing is that a lot of critics of the time didn't get it. A British reviewer bosleycrowthered, "If bad behaviour and smugness were truly charming, Party Girl might be as much fun as it thinks it is." And even Roger Ebert dismissed it, saying that Posey's character's "life is disorganized, ... but the script could nevertheless organize its approach to her, so the audience wouldn't feel as confused as she is most of the time.... But the movie never pulls itself together." Which I think misses the point: Why ask for an eight-course meal when what you really want is a falafel with hot sauce, a side order of baba ganoush, and a seltzer? 

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